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These are the user uploaded subtitles that are being translated: 1 00:00:19,720 --> 00:00:22,560 Who was Leonardo da Vinci? 2 00:00:22,760 --> 00:00:25,880 You can answer that question 20 different ways, at least. 3 00:00:26,240 --> 00:00:30,120 An all-round genius, worldwide. 4 00:00:30,600 --> 00:00:35,080 A man who has a long beard, working in his lab. 5 00:00:35,560 --> 00:00:40,840 He was one of the most relentlessly curious men who ever lived. 6 00:00:41,120 --> 00:00:43,440 The greatest artist of all time. 7 00:00:43,960 --> 00:00:49,800 Once you start knowing him, things get much more complicated. 8 00:00:50,040 --> 00:00:52,840 He's so many things to so many people. 9 00:00:53,000 --> 00:00:56,680 I was very surprised knowing the scientist he was, 10 00:00:57,080 --> 00:01:02,920 and the philosopher and the incredible artist of drawings. 11 00:01:03,280 --> 00:01:07,560 Leonardo da Vinci was many men in one man. 12 00:01:07,640 --> 00:01:08,640 An astronomer. 13 00:01:08,720 --> 00:01:11,520 Also a musician. An architect. 14 00:01:11,600 --> 00:01:12,840 He knew everything. 15 00:01:12,920 --> 00:01:15,280 He knew how to build war machines... 16 00:01:15,360 --> 00:01:19,560 Engineer, botanist, biologist, anatomist. 17 00:01:19,720 --> 00:01:21,560 An observer, so much. 18 00:01:21,720 --> 00:01:23,920 He was an extraordinary polymath. 19 00:01:24,640 --> 00:01:27,120 He was a chef, he was a composer. 20 00:01:27,360 --> 00:01:29,840 He wasn't just a painter or a designer. 21 00:01:29,920 --> 00:01:33,360 He was always ahead of time. 22 00:01:33,680 --> 00:01:34,800 He was a genius. 23 00:01:34,920 --> 00:01:38,080 He was always in search of the right questions 24 00:01:38,200 --> 00:01:40,640 and the good answers. 25 00:01:40,800 --> 00:01:44,040 Very clearly, he fits into the category of genius, for me. 26 00:01:44,240 --> 00:01:47,000 A unique, unmatched complexity 27 00:01:47,080 --> 00:01:50,800 maybe still unseen in the history of mankind. 28 00:01:50,920 --> 00:01:52,880 Even in an 8-hour show like this, 29 00:01:53,080 --> 00:01:57,000 we can only touch the surface of what Leonardo was and did. 30 00:01:57,320 --> 00:02:01,160 He's still... is making waves hundreds of years later, 31 00:02:01,400 --> 00:02:04,880 and yet, he left behind just 12 works of art. 32 00:02:05,160 --> 00:02:07,080 That's extraordinary. 33 00:02:07,360 --> 00:02:11,680 And then by reading the scripts and acting in the series, 34 00:02:11,840 --> 00:02:13,640 he becomes a man. 35 00:02:14,000 --> 00:02:15,880 Leonardo is a real enigma. 36 00:02:16,160 --> 00:02:19,040 He was very much an outsider for his time. 37 00:02:19,160 --> 00:02:21,640 He was an illegitimate child. He was a gay man. 38 00:02:22,600 --> 00:02:26,400 Even if he wasn't necessarily struggling with his identity himself, 39 00:02:26,560 --> 00:02:30,800 he was certainly struggling with how best to present that more widely. 40 00:02:31,600 --> 00:02:34,760 I don't think you'll ever fully get the real essence of who he was, 41 00:02:34,840 --> 00:02:36,560 but that's the great thing about him. 42 00:02:36,720 --> 00:02:39,480 Unravelling the complexity of this man is-- 43 00:02:39,640 --> 00:02:41,200 You wouldn't do it in a lifetime. 44 00:02:41,320 --> 00:02:43,400 I don't know who Leonardo da Vinci is. 45 00:02:43,480 --> 00:02:44,520 We're finding him. 46 00:02:45,040 --> 00:02:47,240 Because he's such a complex character, 47 00:02:47,360 --> 00:02:49,720 we ask ourselves that question every single day. 48 00:02:56,960 --> 00:02:58,920 So, for Steve Thompson and I, 49 00:02:59,000 --> 00:03:02,440 what we wanted to do was capture who Leonardo was as a man. 50 00:03:03,560 --> 00:03:07,880 We have the immense problem that we could sit down and write 100 different shows. 51 00:03:08,000 --> 00:03:10,320 From the first few pages felt, they were Frank's drafts, 52 00:03:10,840 --> 00:03:13,200 I thought, there's a real person here. This is interesting. 53 00:03:13,360 --> 00:03:15,160 I've never thought of him like that before. 54 00:03:15,400 --> 00:03:16,520 You think of Da Vinci, 55 00:03:16,640 --> 00:03:17,880 you think of the guy with the old beard, 56 00:03:18,000 --> 00:03:19,320 you think of the Mona Lisa, 57 00:03:19,480 --> 00:03:22,640 some of the great works, but you don't think of the person. 58 00:03:23,880 --> 00:03:27,480 To see this person evolve and change 59 00:03:27,560 --> 00:03:30,320 in the opening 10-20 pages of the first script, 60 00:03:30,560 --> 00:03:32,400 I'm thinking, "This is a real person." 61 00:03:32,800 --> 00:03:33,800 It's a human. 62 00:03:35,840 --> 00:03:38,800 These scripts instantly grabbed me when I read them 63 00:03:39,000 --> 00:03:42,160 because it's a character-driven narrative. 64 00:03:43,560 --> 00:03:47,120 It's so delicious to have to deal with a story 65 00:03:47,360 --> 00:03:49,040 about a character's journey, 66 00:03:49,200 --> 00:03:52,680 in this case, to discover who they are themselves. 67 00:03:53,000 --> 00:03:56,560 We are telling about the complexity of a man. 68 00:03:56,680 --> 00:03:59,880 We see him as a child abandoned by his father. 69 00:04:01,040 --> 00:04:05,320 We see him young and anxious, looking for his first job. 70 00:04:05,400 --> 00:04:12,000 We see his fears, his uncertainties. His great visionary ability. 71 00:04:12,080 --> 00:04:13,760 His shyness. 72 00:04:14,000 --> 00:04:18,240 Leonardo is front and center of the script. 73 00:04:18,440 --> 00:04:21,400 We get to try and understand him 74 00:04:21,600 --> 00:04:24,880 as an outsider from the beginning. 75 00:04:25,640 --> 00:04:30,640 He's a very different representation of masculinity on-screen 76 00:04:30,760 --> 00:04:35,240 that all of us should strive to... 77 00:04:36,240 --> 00:04:39,880 to understand, watch, and put out there in today's world. 78 00:04:40,200 --> 00:04:43,240 This is a love story but without a sexual love affair. 79 00:04:43,720 --> 00:04:47,920 This is a platonic love affair between a man and a woman, 80 00:04:48,080 --> 00:04:49,560 but a gay man and a... 81 00:04:49,800 --> 00:04:51,200 It's a celibate relationship. 82 00:04:52,600 --> 00:04:55,280 That's a really powerful and different narrative. 83 00:04:55,600 --> 00:05:00,560 One of the challenges you face is genius is a mystery. 84 00:05:01,360 --> 00:05:05,440 And you can never really explain where it comes from. 85 00:05:06,760 --> 00:05:09,680 But what we've tried to do is give you insight 86 00:05:09,800 --> 00:05:12,000 into what made him a genius. 87 00:05:13,600 --> 00:05:16,680 What makes him really interesting as a character is "genius." 88 00:05:17,080 --> 00:05:20,200 It's quite a lonely place to be. 89 00:05:20,400 --> 00:05:23,760 If you have a genius mind, you're locked inside a genius mind, 90 00:05:24,240 --> 00:05:25,960 that can make people very lonely. 91 00:05:26,680 --> 00:05:31,000 So we started to explore the human relationships in his life, as well. 92 00:05:31,080 --> 00:05:36,040 To show you how moving his journey through life was 93 00:05:36,600 --> 00:05:40,800 and how much he sacrificed to achieve what he did. 94 00:05:41,240 --> 00:05:42,440 But it's more than that. 95 00:05:42,600 --> 00:05:44,920 It's also a story of an artist, 96 00:05:45,080 --> 00:05:48,560 and how they are challenged all the time 97 00:05:48,680 --> 00:05:51,680 to achieve what it is they're desperately trying to achieve. 98 00:05:51,920 --> 00:05:55,480 We look at the Last Supper or the Mona Lisa 99 00:05:55,760 --> 00:05:59,400 and we take for granted that it's beautiful and a masterpiece. 100 00:06:00,000 --> 00:06:04,040 But, of course, it wasn't so obvious at the time. 101 00:06:04,600 --> 00:06:07,040 So we've spent a lot of time in this show 102 00:06:07,560 --> 00:06:09,480 focusing on Leonardo as a man, 103 00:06:09,800 --> 00:06:12,200 but also trying to give the audience 104 00:06:12,280 --> 00:06:15,120 an understanding of what made him such a great artist. 105 00:06:15,320 --> 00:06:17,600 In the eight episodes, every one of the episodes 106 00:06:17,800 --> 00:06:20,280 tells the story of one particular piece of art 107 00:06:20,760 --> 00:06:22,480 and the struggle to create it. 108 00:06:23,320 --> 00:06:26,440 Those are our two story arcs. 109 00:06:26,720 --> 00:06:29,240 Not just to show you art as if this were an art class 110 00:06:29,400 --> 00:06:30,920 or educational television, 111 00:06:31,160 --> 00:06:33,600 but to show you the human truth of this art 112 00:06:33,720 --> 00:06:37,720 and why it mattered to Leonardo and why it was a work of genius. 113 00:06:38,400 --> 00:06:39,760 When I look into your eyes, 114 00:06:40,560 --> 00:06:42,000 I can see the pain in my own. 115 00:06:42,560 --> 00:06:44,360 One of the things that makes it different 116 00:06:44,480 --> 00:06:46,680 is the nature of the story. 117 00:06:47,000 --> 00:06:49,640 It's a biopic. It's not a typical costume drama. 118 00:06:50,040 --> 00:06:52,680 This is like a blend of genres. 119 00:06:53,080 --> 00:06:55,520 Frank Spotnitz, Steve Thompson and Gabbie Asher, 120 00:06:55,680 --> 00:06:57,920 when in creating this show, have created 121 00:06:58,200 --> 00:07:00,320 a murder mystery at the heart of it. 122 00:07:00,920 --> 00:07:03,600 It starts with the murder of a woman. 123 00:07:03,800 --> 00:07:06,040 Leonardo is arrested and accused of her murder. 124 00:07:06,800 --> 00:07:10,720 Steve and I began to imagine who she may have really been. 125 00:07:10,920 --> 00:07:12,080 And we don't know. 126 00:07:12,400 --> 00:07:13,680 'Cause it's lost to history. 127 00:07:13,800 --> 00:07:16,120 It's a blank that we had to fill in. 128 00:07:16,840 --> 00:07:19,800 All of the great biographers say, "This is what we do know 129 00:07:20,040 --> 00:07:23,360 "but here are the questions which are unanswered." 130 00:07:24,080 --> 00:07:26,800 For Frank and I, as dramatists, that's great, 131 00:07:27,040 --> 00:07:28,680 because we can fill in the blanks. 132 00:07:29,040 --> 00:07:31,320 We can say, "Okay, this much we know to be true, 133 00:07:31,760 --> 00:07:33,440 "but this much is just speculation." 134 00:07:33,640 --> 00:07:35,520 And at that point, fiction takes over, 135 00:07:35,760 --> 00:07:37,320 and we can have some fun with it. 136 00:07:40,880 --> 00:07:43,040 It's a beautiful framework to create a biopic. 137 00:07:43,160 --> 00:07:47,040 It's a fictional event in a real life story. 138 00:07:47,240 --> 00:07:49,720 But by filling in and imagining 139 00:07:49,840 --> 00:07:51,360 what their relationship was 140 00:07:51,520 --> 00:07:54,160 and why she was so important to Leonardo, 141 00:07:54,680 --> 00:07:58,640 it gave us a way to tell the emotional story of his life 142 00:07:59,200 --> 00:08:01,080 that wouldn't have existed otherwise. 143 00:08:01,360 --> 00:08:03,000 Leonardo was someone who found 144 00:08:03,160 --> 00:08:06,280 his salvation in art and his own imagination. 145 00:08:06,720 --> 00:08:08,240 He put that above other people. 146 00:08:08,640 --> 00:08:11,160 Above life and love. 147 00:08:12,240 --> 00:08:15,840 And his journey in our series is about 148 00:08:15,920 --> 00:08:20,040 learning to put people, life and love above art. 149 00:08:29,440 --> 00:08:32,360 I had no idea who was going to play Leonardo. 150 00:08:33,800 --> 00:08:37,040 It's, obviously, a really difficult part to play. 151 00:08:37,440 --> 00:08:41,120 So when I found out that Aidan was available 152 00:08:41,240 --> 00:08:43,960 and interested in playing the part, I was thrilled. 153 00:08:44,560 --> 00:08:46,960 He's a deeply sensitive... 154 00:08:48,520 --> 00:08:50,680 ...personality. A deeply sensitive character. 155 00:08:51,160 --> 00:08:53,280 And you have to have that in the artist. 156 00:08:53,400 --> 00:08:55,000 You have to have someone who feels everything. 157 00:08:55,200 --> 00:08:58,640 Absolutely the perfect actor for the role of Leonardo. 158 00:08:58,720 --> 00:09:01,040 I've never been able to think of anybody better. 159 00:09:01,120 --> 00:09:04,280 To be able to convey his intelligence 160 00:09:04,920 --> 00:09:07,360 and the enigma of Leonardo, 161 00:09:07,520 --> 00:09:09,640 the mystery of where his genius comes from, 162 00:09:09,840 --> 00:09:11,760 that's something not every actor can do. 163 00:09:12,720 --> 00:09:16,240 We all felt really confident that Aidan could deliver that, 164 00:09:16,360 --> 00:09:17,480 and he has. 165 00:09:17,760 --> 00:09:21,720 I felt a lot of pressure in preparing to play Leonardo. 166 00:09:22,880 --> 00:09:25,080 That's what attracted me to the part, as well. 167 00:09:25,320 --> 00:09:26,400 Yeah, it's terrifying. 168 00:09:26,720 --> 00:09:30,320 For him, it's great to have a role like this to play with 169 00:09:31,000 --> 00:09:33,880 and explore and challenge himself with. 170 00:09:34,080 --> 00:09:37,800 Because Leonardo is a man capable of rage and passion, 171 00:09:37,920 --> 00:09:41,040 and huge empathy and insights. 172 00:09:41,560 --> 00:09:43,240 But we don't know what he was like. 173 00:09:43,320 --> 00:09:45,160 We don't have YouTube videos of him. 174 00:09:45,640 --> 00:09:47,840 We wasn't on political campaign. We don't have any-- 175 00:09:47,960 --> 00:09:50,320 We've never heard him speak, never seen him walk. 176 00:09:50,720 --> 00:09:54,600 So you can start to create this person. 177 00:09:54,800 --> 00:09:57,080 This human behind all that work. 178 00:09:57,640 --> 00:09:59,240 That was the exciting part, too. 179 00:09:59,400 --> 00:10:01,600 You're not mimicking a famous person 180 00:10:01,720 --> 00:10:03,040 that we're all aware of. 181 00:10:03,240 --> 00:10:05,080 With all the work and everything we know about him, 182 00:10:05,240 --> 00:10:07,440 we're starting, again. 183 00:10:08,040 --> 00:10:12,640 It must be intimidating to play a real character from history 184 00:10:12,960 --> 00:10:14,320 that was such a genius, 185 00:10:14,960 --> 00:10:16,400 and to make him human. 186 00:10:16,640 --> 00:10:17,640 I overreached. 187 00:10:19,200 --> 00:10:22,600 Attempted to cram too many ideas into a single work. 188 00:10:22,880 --> 00:10:25,440 Always hard to say who my favorite characters are, 189 00:10:25,560 --> 00:10:27,360 'cause I love all the characters. 190 00:10:27,560 --> 00:10:30,160 It's like asking somebody to pick their favorite child. 191 00:10:30,960 --> 00:10:33,600 But I would have to say it's Caterina. 192 00:10:33,800 --> 00:10:38,560 Caterina da Cremona is love. 193 00:10:39,080 --> 00:10:41,400 Like Leonardo would say, "She's love." 194 00:10:41,880 --> 00:10:43,120 Tell me about this woman. 195 00:10:44,560 --> 00:10:46,480 Caterina da Cremona. 196 00:10:46,680 --> 00:10:48,400 You can't help but love her 197 00:10:48,560 --> 00:10:50,640 because she is so blunt. 198 00:10:51,360 --> 00:10:53,600 She's honest. She's too honest. 199 00:10:53,760 --> 00:10:55,120 She's saying things she should not say. 200 00:10:55,320 --> 00:10:57,760 They just come out of her mouth, immediately. 201 00:10:57,960 --> 00:10:59,040 She's a young woman. 202 00:11:00,440 --> 00:11:02,480 She's a tough one. 203 00:11:03,760 --> 00:11:07,600 She comes from the street, the working class. 204 00:11:08,320 --> 00:11:10,360 So she knows what's what. 205 00:11:11,760 --> 00:11:13,320 But she's also... 206 00:11:14,760 --> 00:11:17,720 a pure heart, like a white heart. 207 00:11:17,840 --> 00:11:18,840 A pure soul. 208 00:11:18,960 --> 00:11:20,400 It is wonderful. 209 00:11:21,640 --> 00:11:25,000 The relationship that she has with Leonardo, 210 00:11:25,240 --> 00:11:28,200 that is obviously the love story at the center of this show, 211 00:11:28,680 --> 00:11:32,360 is really interesting because, ultimately, it's a platonic one. 212 00:11:32,880 --> 00:11:35,320 It was platonic, I suppose. 213 00:11:38,160 --> 00:11:41,520 There's a thin line between all of that. 214 00:11:42,080 --> 00:11:44,920 It was a real representation of love. 215 00:11:45,000 --> 00:11:47,800 As opposed to something being platonic or romantic... 216 00:11:48,480 --> 00:11:50,880 It felt something of a mixture of the two of them, 217 00:11:51,000 --> 00:11:52,680 or something more than that, even. 218 00:11:52,840 --> 00:11:55,080 She's able to push him in ways 219 00:11:55,240 --> 00:11:57,440 that he's not able to do himself. 220 00:11:57,560 --> 00:11:59,160 He doesn't have the confidence. 221 00:11:59,880 --> 00:12:04,200 Also, he's able to see things in her that she didn't see. 222 00:12:04,640 --> 00:12:06,800 It was something more than just a friendship. 223 00:12:07,000 --> 00:12:08,400 Which was interesting to play. 224 00:12:08,520 --> 00:12:11,640 They become brother and sister, 225 00:12:12,240 --> 00:12:14,560 husband and wife, best friend. 226 00:12:14,680 --> 00:12:17,400 We don't know. They have this great bond. 227 00:12:18,320 --> 00:12:21,280 This great connection that can't be enchained. 228 00:12:21,520 --> 00:12:23,200 They belong to each other. 229 00:12:23,680 --> 00:12:28,240 All my life I've felt like nothing. 230 00:12:30,160 --> 00:12:31,160 Until now. 231 00:12:34,320 --> 00:12:35,440 Until you. 232 00:12:36,120 --> 00:12:37,200 I don't think that... 233 00:12:38,520 --> 00:12:41,080 those sorts of love stories are necessarily told... 234 00:12:42,720 --> 00:12:45,600 in quite the same way that we've managed to do on this show. 235 00:12:45,680 --> 00:12:47,800 I'm really proud and excited about that. 236 00:12:53,160 --> 00:12:56,400 She's like a key that opens him up 237 00:12:57,080 --> 00:13:02,640 and begins to allow him to show his art to Verrocchio. 238 00:13:02,760 --> 00:13:05,920 To be recognized as the most talented apprentice 239 00:13:06,160 --> 00:13:07,240 in the studio. 240 00:13:07,360 --> 00:13:12,440 Verrocchio and Leonardo are of a similar nature. 241 00:13:12,520 --> 00:13:18,400 Because, firstly, Verrocchio was a sculptor too. 242 00:13:18,480 --> 00:13:19,680 Then he became a painter. 243 00:13:21,200 --> 00:13:23,000 Then he was also an architect. 244 00:13:23,120 --> 00:13:26,040 Verrocchio was somebody that Leonardo greatly admired. 245 00:13:26,160 --> 00:13:29,480 Very famous maestro/teacher in Florence. 246 00:13:30,840 --> 00:13:33,400 Somebody that Leonardo really looked up to. 247 00:13:33,560 --> 00:13:38,680 The relationship between Leonardo and Verrocchio 248 00:13:38,760 --> 00:13:41,200 is the kind of relationship where they both look for perfection, 249 00:13:41,280 --> 00:13:42,480 a divine perfection though. 250 00:13:42,560 --> 00:13:45,600 You can see it from their paintings. 251 00:13:45,680 --> 00:13:46,680 We had a lot of fun. 252 00:13:46,840 --> 00:13:51,440 That was very much the master-pupil relationship. 253 00:13:51,720 --> 00:13:57,400 So the falcon has taught the falconer. 254 00:13:59,400 --> 00:14:03,200 He's just got a big personality. Very confident person. 255 00:14:03,600 --> 00:14:04,600 So it works. 256 00:14:04,680 --> 00:14:06,240 It was kind of, yeah, we didn't have to... 257 00:14:06,320 --> 00:14:07,440 There was no acting required 258 00:14:07,520 --> 00:14:09,560 for the scenes with Giancarlo. 259 00:14:12,400 --> 00:14:14,960 In the questioning of him about Caterina's murder, 260 00:14:16,000 --> 00:14:18,000 we invented this character 261 00:14:18,080 --> 00:14:22,680 of Stefano Giraldi, who's an officer of the podesta in Milan. 262 00:14:22,880 --> 00:14:25,120 He is a fictional detective. 263 00:14:25,200 --> 00:14:27,160 Leonardo da Vinci is on trial for murder, 264 00:14:27,240 --> 00:14:30,840 and I'm trying to find out the truth behind what happened. 265 00:14:31,000 --> 00:14:33,320 It was around the hottest time in Rome. 266 00:14:33,400 --> 00:14:35,480 It was 40 degrees outside, no air-conditioning, 267 00:14:35,560 --> 00:14:37,000 and we were in this small cell. 268 00:14:37,320 --> 00:14:42,600 And we shot all of our scenes in that week or in four days. 269 00:14:42,840 --> 00:14:46,000 I've really relished getting to work with Aidan, 270 00:14:46,080 --> 00:14:50,720 and the two of us are often in these confined spaces together in his cell. 271 00:14:50,800 --> 00:14:55,160 And the scenes very much aren't about the big action set pieces, 272 00:14:55,240 --> 00:14:59,480 but more about these little minutiae between different characters. 273 00:15:00,400 --> 00:15:03,800 If you're innocent, where's your proof? 274 00:15:05,240 --> 00:15:11,520 In some ways, the scenes between Giraldi and Leonardo feel like a different show. 275 00:15:12,200 --> 00:15:13,280 The mind games. 276 00:15:13,400 --> 00:15:16,360 I guess these tennis matches between the two of us, 277 00:15:16,440 --> 00:15:18,560 and I've really enjoyed getting to play those. 278 00:15:19,600 --> 00:15:20,920 We've been looking for you. 279 00:15:24,040 --> 00:15:25,400 I go by lots of names. 280 00:15:25,600 --> 00:15:28,760 Some people call me Salai, little devil. 281 00:15:28,840 --> 00:15:32,720 The characters I enjoy writing in my scripts 282 00:15:32,800 --> 00:15:34,760 are among my favorites. 283 00:15:34,840 --> 00:15:37,600 I mean, Leonardo's, of course, great fun to write. 284 00:15:38,280 --> 00:15:41,480 I have a particular favorite as well, which is the character of Salai. 285 00:15:41,920 --> 00:15:43,120 Salai is a street rat. 286 00:15:43,200 --> 00:15:47,000 He's a thief and becomes the assistant, the friend, 287 00:15:47,400 --> 00:15:49,560 the apprentice of Leonardo da Vinci. 288 00:15:49,640 --> 00:15:53,080 He's a very smart character, very devilish, very playful, 289 00:15:53,600 --> 00:15:57,920 and, of course, very, very loyal to his maestro. 290 00:15:58,520 --> 00:16:01,920 Most people, when they meet Leonardo, are very respectful 291 00:16:02,160 --> 00:16:05,200 and treat him with a sort of remoteness. 292 00:16:06,160 --> 00:16:09,120 Salai doesn't. Salai is a thief, a street rat, 293 00:16:09,200 --> 00:16:11,480 and has absolutely no sense of respect for him. 294 00:16:11,560 --> 00:16:16,560 And when they talk, there's a really sharp, spicy kind of banter between them. 295 00:16:16,640 --> 00:16:17,920 And that's really fun to write. 296 00:16:18,640 --> 00:16:19,640 What's your name? 297 00:16:20,080 --> 00:16:21,480 What would you like it to be? 298 00:16:25,480 --> 00:16:27,080 Everything is just a joke to you. 299 00:16:27,560 --> 00:16:29,880 Leonardo sees a lot of himself in this boy. 300 00:16:29,960 --> 00:16:31,880 He takes him from the streets 301 00:16:33,080 --> 00:16:37,600 and he's somebody who has been rejected by life also 302 00:16:38,160 --> 00:16:41,160 and somebody who just needs 303 00:16:41,240 --> 00:16:43,640 love and attention and somebody to trust. 304 00:16:43,720 --> 00:16:46,400 And they find that with each other quite early. 305 00:16:46,480 --> 00:16:48,760 Even they come from different backgrounds, 306 00:16:48,840 --> 00:16:50,880 they are going to spend their life together. 307 00:16:50,960 --> 00:16:52,920 So it's a relationship 308 00:16:53,000 --> 00:16:57,480 based on loyalty between them. 309 00:16:57,560 --> 00:17:00,160 And there is a very pure love between them. 310 00:17:00,240 --> 00:17:02,480 That's why Salai is going to be 311 00:17:02,560 --> 00:17:03,800 always there for Leonardo. 312 00:17:04,160 --> 00:17:06,640 Salai is... He was... 313 00:17:06,720 --> 00:17:09,040 one of the big loves of Leonardo's life. 314 00:17:10,120 --> 00:17:13,720 One fact that not a lot of people know about Leonardo is that he was gay. 315 00:17:15,080 --> 00:17:17,640 And so, Caterina discovers this about Leonardo, 316 00:17:17,720 --> 00:17:19,800 and he discovers it about himself. 317 00:17:19,960 --> 00:17:24,400 And I think it's a story that feels very modern in terms of that struggle. 318 00:17:24,920 --> 00:17:29,000 Here is a guy who encounters all sorts of problems in his life. 319 00:17:29,080 --> 00:17:32,080 He has very difficult relationships, problem with his sexuality, 320 00:17:32,160 --> 00:17:33,520 terrible problem with his parents. 321 00:17:33,600 --> 00:17:35,320 He had a very difficult upbringing. 322 00:17:35,400 --> 00:17:38,080 He wasn't brought up by either of his parents. 323 00:17:38,480 --> 00:17:40,160 And he was really mistreated 324 00:17:40,240 --> 00:17:41,600 by members of his family. 325 00:17:41,920 --> 00:17:43,080 And he grew up 326 00:17:43,160 --> 00:17:48,280 not really believing that he was lovable, that he was worthy of love. 327 00:17:48,800 --> 00:17:53,400 So much of Leonardo's angst came from his family 328 00:17:53,480 --> 00:17:55,360 and how he was brought up. 329 00:17:55,440 --> 00:18:00,520 He was always quite resentful of being rejected by his father. 330 00:18:00,680 --> 00:18:02,160 I didn't ask to be born. 331 00:18:02,240 --> 00:18:04,240 No one asked for you to be born, Leonardo. 332 00:18:05,600 --> 00:18:06,600 You are a mistake. 333 00:18:07,000 --> 00:18:09,920 He had several kids, 334 00:18:10,000 --> 00:18:14,600 but he never very recognize Leonardo, he didn't wanted him. 335 00:18:14,720 --> 00:18:17,960 He understood later, he was a vegetarian, 336 00:18:18,040 --> 00:18:21,880 which was particular, for the time. Gay, certainly. 337 00:18:21,960 --> 00:18:26,640 So he was very disappointed by his son. 338 00:18:26,720 --> 00:18:28,640 Working with Piero, working with Robin, 339 00:18:28,720 --> 00:18:31,680 those scenes were... They were always tricky. 340 00:18:31,760 --> 00:18:33,760 There was naturally a lot of angst 341 00:18:33,840 --> 00:18:36,680 and energy in those scenes. 342 00:18:37,160 --> 00:18:39,560 It's an authority relation. 343 00:18:40,280 --> 00:18:42,800 The father is very strong. 344 00:18:43,200 --> 00:18:44,920 He didn't play him necessarily very cold. 345 00:18:45,000 --> 00:18:48,760 But just knowing and researching so much, 346 00:18:48,840 --> 00:18:50,880 and just speaking to Dan about how much 347 00:18:50,960 --> 00:18:53,600 his relationship with his father would have affected him, did affect him, 348 00:18:53,680 --> 00:18:54,680 always affected him, 349 00:18:55,160 --> 00:18:57,960 it just turned on something in those scenes between us. 350 00:18:58,760 --> 00:19:01,960 But he tries to understand his son, 351 00:19:02,040 --> 00:19:04,880 but he can't very well understand him. 352 00:19:05,000 --> 00:19:08,560 And maybe it gave Leonardo some strength. 353 00:19:08,840 --> 00:19:12,560 Of course, it destructed him but it gave him strength. 354 00:19:15,280 --> 00:19:17,040 My favorite character, 355 00:19:17,560 --> 00:19:18,840 I would say, 356 00:19:20,080 --> 00:19:21,440 Ludovico Sforza. 357 00:19:22,440 --> 00:19:26,000 I don't know why. Maybe because I love James D'arcy, 358 00:19:26,080 --> 00:19:29,200 and I love his Ludovico Sforza. 359 00:19:29,480 --> 00:19:32,800 I think the relationship between Sforza and Caterina 360 00:19:32,880 --> 00:19:35,520 is very interesting in its complexity, 361 00:19:35,600 --> 00:19:36,840 but ultimately, 362 00:19:38,200 --> 00:19:41,160 it felt to me like it was a power game. 363 00:19:41,680 --> 00:19:43,120 That's your choice, of course. 364 00:19:46,360 --> 00:19:47,360 Of course. 365 00:19:54,400 --> 00:19:56,320 But there really is no choice at all. 366 00:19:57,400 --> 00:19:58,560 Yeah, James is fun. 367 00:19:58,640 --> 00:20:00,520 James is a great guy. He's one of these actors 368 00:20:00,600 --> 00:20:02,880 who, straight away, just embodied... 369 00:20:02,960 --> 00:20:04,680 He was the character, you know. 370 00:20:04,760 --> 00:20:07,680 He just felt right straight away, and he brought a lot of humor 371 00:20:07,760 --> 00:20:10,360 to the role, too, which was brilliant. It felt right. 372 00:20:10,880 --> 00:20:12,720 You are Leonardo? 373 00:20:16,160 --> 00:20:17,160 Do you know who I am? 374 00:20:18,960 --> 00:20:20,000 Yes, your grace. 375 00:20:20,280 --> 00:20:23,040 One of the exciting things about playing a character 376 00:20:23,120 --> 00:20:27,720 who is in charge is, actually, you don't have to do anything. 377 00:20:27,800 --> 00:20:29,400 Everybody else does it for you. 378 00:20:29,760 --> 00:20:33,400 It's a great character, it's full of contradiction 379 00:20:33,480 --> 00:20:36,880 and over the line all the time. 380 00:20:36,960 --> 00:20:37,960 He's crazy. 381 00:20:38,040 --> 00:20:39,600 He's the boss of the castle, 382 00:20:39,680 --> 00:20:43,200 but you never know what he's thinking. 383 00:20:43,280 --> 00:20:44,280 He can be charming, 384 00:20:44,520 --> 00:20:45,880 he can be a tyrant, 385 00:20:46,000 --> 00:20:48,960 he can be quiet, 386 00:20:49,040 --> 00:20:51,400 he can be loud, he can be any one of those things. 387 00:20:51,480 --> 00:20:55,960 But it's much more to do with the way people react around him in court. 388 00:20:57,600 --> 00:21:01,000 A menacing guy and scary person to have around, 389 00:21:01,080 --> 00:21:03,520 but I think he's a patron of the arts, 390 00:21:03,600 --> 00:21:05,400 and I think for that reason alone, 391 00:21:05,480 --> 00:21:07,480 it's somebody that Leonardo appreciated. 392 00:21:08,040 --> 00:21:09,280 I think he challenged him. 393 00:21:10,920 --> 00:21:14,560 I think he opened his imagination, 394 00:21:14,640 --> 00:21:15,640 to some extent. 395 00:21:19,440 --> 00:21:23,160 I think he did push him in ways 396 00:21:23,240 --> 00:21:26,200 that even a genius like Leonardo da Vinci 397 00:21:26,320 --> 00:21:28,920 needed someone to keep pushing him forward. 398 00:21:29,000 --> 00:21:32,520 Because every artist is plagued with self-doubt, 399 00:21:32,600 --> 00:21:34,480 and the show explores that quite a bit. 400 00:21:35,320 --> 00:21:38,880 So Sforza was the person who was there to say to him, 401 00:21:38,960 --> 00:21:41,040 "No, it's possible. Do it." 402 00:21:45,560 --> 00:21:49,840 Whenever you make a film about a real character, 403 00:21:50,680 --> 00:21:52,400 doesn't matter if it's Mahatma Gandhi 404 00:21:52,480 --> 00:21:55,680 or Muhammad Ali or Leonardo da Vinci, 405 00:21:55,760 --> 00:21:59,920 it's terrifying that they're people that everyone has some idea of, 406 00:22:00,720 --> 00:22:03,480 and you're going to be judged harshly, whatever you do. 407 00:22:04,520 --> 00:22:07,200 There's no perfect version of this character. 408 00:22:07,280 --> 00:22:09,440 There's just the version that you can present. 409 00:22:09,560 --> 00:22:12,560 And I think every time you represent someone from history, 410 00:22:12,640 --> 00:22:17,400 you have a responsibility to be as truthful as possible to their character. 411 00:22:17,960 --> 00:22:20,080 But at the same time, you have responsibility 412 00:22:20,160 --> 00:22:22,960 to tell the best story in the best possible way 413 00:22:23,560 --> 00:22:26,840 regardless of who-- the actor you cast to play that person, 414 00:22:26,920 --> 00:22:28,560 or how you choose to write. 415 00:22:34,520 --> 00:22:38,560 We had to stop shooting on March 9th. 416 00:22:39,680 --> 00:22:42,240 At break time, I mean, at lunchtime, 417 00:22:42,320 --> 00:22:45,720 and from the afternoon we started thinking about 418 00:22:45,800 --> 00:22:47,880 how we could reopen our film sets. 419 00:22:48,680 --> 00:22:51,880 We had to stop production for months. 420 00:22:52,360 --> 00:22:53,840 We just had to stop, 421 00:22:53,920 --> 00:22:56,320 and we didn't know if we'd have a show or not. 422 00:22:56,400 --> 00:22:58,680 And every production that was shooting 423 00:22:58,760 --> 00:23:00,800 all over the world has had exactly this problem. 424 00:23:00,880 --> 00:23:04,080 It's a credit to Lux vide and Sony and everyone who managed to make it work. 425 00:23:04,160 --> 00:23:05,160 It's a huge ordeal. 426 00:23:05,240 --> 00:23:07,120 You have one-way systems around everywhere 427 00:23:07,200 --> 00:23:09,640 and different departments not meeting each other. 428 00:23:09,720 --> 00:23:12,560 It's a huge... The geography of the whole thing, 429 00:23:12,640 --> 00:23:18,160 to orchestrate it, in itself is... On top of shooting a TV show. 430 00:23:18,440 --> 00:23:19,440 It's just crazy. 431 00:23:19,520 --> 00:23:22,480 How extraordinary it is that Lux Vide has managed to get this show 432 00:23:22,560 --> 00:23:25,000 back up on its feet during COVID. 433 00:23:25,080 --> 00:23:26,840 And they've worked exceptionally hard 434 00:23:27,480 --> 00:23:32,280 to make sure we're all tested. Weekly, we're tested. 435 00:23:32,960 --> 00:23:38,960 And that we have a safe working environment for COVID. 436 00:23:39,240 --> 00:23:45,640 We put in a huge effort, almost a superhuman effort 437 00:23:47,080 --> 00:23:52,600 to resume shooting, which we did on June 8th. 438 00:23:52,680 --> 00:23:56,160 I must say that everybody worked very hard 439 00:23:56,240 --> 00:24:00,760 from their homes, the places where they were spending their lockdown days, 440 00:24:00,840 --> 00:24:03,080 to make this possible. 441 00:24:03,240 --> 00:24:05,880 So that's been amazing to see how this crew 442 00:24:05,960 --> 00:24:11,080 has managed to put together such a huge production again 443 00:24:11,240 --> 00:24:14,960 in such a short period of time, and keep it safe for everybody. 444 00:24:15,120 --> 00:24:16,120 That's really inspiring. 445 00:24:16,720 --> 00:24:21,280 I, first of all, feel very lucky to be able to be back working. 446 00:24:21,520 --> 00:24:25,600 Everyone here in Italy that was obviously so hard hit 447 00:24:25,680 --> 00:24:28,280 by the coronavirus has been wonderful at 448 00:24:28,360 --> 00:24:32,520 putting in all the necessary precautions and making sure that people feel 449 00:24:32,800 --> 00:24:36,800 as safe as they need to in order to go back to work. 450 00:24:37,320 --> 00:24:42,000 We have acres, hectares here of land where we've recreated streets 451 00:24:42,080 --> 00:24:45,040 and buildings and interiors and piazzas 452 00:24:47,040 --> 00:24:48,720 so that we can keep filming 453 00:24:48,800 --> 00:24:51,680 and create as many locations as we can. 454 00:24:51,920 --> 00:24:56,480 We considered many viable options, 455 00:24:56,560 --> 00:24:59,880 so much so that in Europe, we were the first 456 00:24:59,960 --> 00:25:03,600 to resume working on such a complex production work, 457 00:25:03,680 --> 00:25:05,400 I mean, something at this level. 458 00:25:05,480 --> 00:25:09,480 How to have actors next to each other on the film set, 459 00:25:09,560 --> 00:25:12,960 because, you know, we couldn't have them wear face masks. 460 00:25:13,040 --> 00:25:18,640 How to disinfect and clean 461 00:25:18,720 --> 00:25:22,200 an enormous amount of costumes and props. 462 00:25:22,280 --> 00:25:24,680 We bought some COVID-19 fogging machines 463 00:25:24,920 --> 00:25:29,880 to disinfect the clothes worn by those who entered the film sets, 464 00:25:29,960 --> 00:25:31,640 and then also temperature check devices, 465 00:25:31,720 --> 00:25:35,640 sanitizing not only their clothes but also their bodies. 466 00:25:35,720 --> 00:25:39,320 I feel like the protocols are terrific. 467 00:25:39,400 --> 00:25:42,720 We're tested all the time, everyone on the crew is tested. 468 00:25:42,800 --> 00:25:44,960 Everybody is wearing masks. 469 00:25:45,040 --> 00:25:47,160 It's as safe as it could be. 470 00:25:47,320 --> 00:25:50,840 It's a bit weird working under these protocols, 471 00:25:50,920 --> 00:25:52,720 I won't lie to you. 472 00:25:52,800 --> 00:25:55,520 Because it's very difficult to understand my job 473 00:25:55,600 --> 00:25:58,440 without being close to both cast and crew. 474 00:25:59,520 --> 00:26:02,360 But I have the feeling that we're working 475 00:26:02,440 --> 00:26:05,240 in a very safe environment, and the production 476 00:26:05,320 --> 00:26:09,840 has taken a lot of measures to protect us. 477 00:26:10,440 --> 00:26:16,680 So I have the feeling that I'm calm and I can do my job well. 478 00:26:17,200 --> 00:26:20,200 This job is about relationship, 479 00:26:20,280 --> 00:26:23,000 it's about being together and playing together. 480 00:26:23,320 --> 00:26:27,080 We all feel very blessed to be back on set and do what we love the most, 481 00:26:27,320 --> 00:26:31,360 because we understand that it is not something 482 00:26:31,440 --> 00:26:34,120 to take for granted in life. 483 00:26:41,040 --> 00:26:43,960 One of the most important things to me in creating this show 484 00:26:44,080 --> 00:26:45,920 was to make it as authentic as possible. 485 00:26:46,240 --> 00:26:49,320 And look at the story 486 00:26:50,200 --> 00:26:52,560 through Leonardo's eyes as much as possible. 487 00:26:52,640 --> 00:26:54,600 What were the resources available to him? 488 00:26:54,680 --> 00:26:57,440 What were the materials available to him? 489 00:26:57,520 --> 00:26:59,960 How did he actually paint his art? 490 00:27:00,840 --> 00:27:02,280 What were his skills? 491 00:27:02,360 --> 00:27:03,440 How did he learn them? 492 00:27:03,520 --> 00:27:06,800 Straight away, getting a tour of the art department 493 00:27:06,880 --> 00:27:09,560 and just seeing the work that they had done 494 00:27:09,640 --> 00:27:13,000 and that they had to do was quite breathtaking, actually. 495 00:27:13,240 --> 00:27:16,920 A film set like this involves over 200 people working in it. 496 00:27:17,000 --> 00:27:20,840 Two, sometimes three units shooting at the same time on the same day. 497 00:27:20,920 --> 00:27:25,400 We developed and partly built dozens of locations. 498 00:27:25,560 --> 00:27:29,160 Sixty, seventy different film sets. 499 00:27:29,240 --> 00:27:35,320 We covered an area of at least 600-700 square meters. 500 00:27:35,400 --> 00:27:40,200 We have a very large film set, all outside Florence, 501 00:27:40,280 --> 00:27:43,320 that we're going to reconstruct in a plot, a back lot actually, 502 00:27:43,400 --> 00:27:45,920 near the Filmhouse Studios. 503 00:27:46,560 --> 00:27:49,400 The challenge was really huge. 504 00:27:49,880 --> 00:27:50,880 Building... 505 00:27:52,480 --> 00:27:58,040 something that probably hadn't been done for over 20 years 506 00:27:58,120 --> 00:28:00,840 here in Rome and in Italy. 507 00:28:00,920 --> 00:28:03,640 A film set of yesteryear 508 00:28:03,720 --> 00:28:09,080 in terms of volumes, extension, and complexity of... 509 00:28:10,640 --> 00:28:12,080 of production. 510 00:28:12,160 --> 00:28:14,240 In the Art Department, here in this office, 511 00:28:14,320 --> 00:28:17,240 we're basically five, six people. 512 00:28:17,320 --> 00:28:21,160 Then there's the Decorators Department, accounting for another six, seven people. 513 00:28:21,240 --> 00:28:24,320 Then there's the Carpentry Department, 514 00:28:24,400 --> 00:28:29,800 a department of plasterers, then companies building the scenes. 515 00:28:30,880 --> 00:28:34,960 Totally, it could be more than 150 people. 516 00:28:35,040 --> 00:28:37,400 Of course only in such a project 517 00:28:37,480 --> 00:28:40,400 where almost everything has been completely rebuilt. 518 00:28:40,480 --> 00:28:43,880 This structure includes two cities 519 00:28:43,960 --> 00:28:46,720 Florence and Milan. 520 00:28:46,800 --> 00:28:49,960 Streets, alleys, buildings, palaces, 521 00:28:51,160 --> 00:28:52,160 and churches. 522 00:28:53,560 --> 00:28:58,560 Building all this was such a complex undertaking... 523 00:28:58,640 --> 00:29:03,560 This is the Florence model, 524 00:29:03,640 --> 00:29:04,640 which is a scale model. 525 00:29:04,720 --> 00:29:06,960 It is useful for the direction 526 00:29:07,040 --> 00:29:12,040 in terms of all stage movements 527 00:29:12,120 --> 00:29:16,640 and camera movements, and for the actors, group scenes. 528 00:29:16,720 --> 00:29:19,240 I mean, it's very useful for everybody. 529 00:29:20,120 --> 00:29:21,640 What you see here in green 530 00:29:21,720 --> 00:29:26,560 will be made in CGI, i.e. in post-production... 531 00:29:26,640 --> 00:29:29,520 The technical drawings, and also the sketches, 532 00:29:29,600 --> 00:29:33,080 are always provided by us, that is, the Scenic Design Department. 533 00:29:33,160 --> 00:29:39,480 So that they still have a design that matches the real one. 534 00:29:54,160 --> 00:29:58,200 A very important part of our work is the sketching phase, 535 00:29:58,280 --> 00:30:01,640 sketches are generally drawn at the beginning. 536 00:30:01,720 --> 00:30:07,840 And it has to do with showing the film look, 537 00:30:07,920 --> 00:30:09,520 the "film dress", I'd say. 538 00:30:09,600 --> 00:30:14,400 So the color palette, the choice of the style of the furniture. 539 00:30:14,600 --> 00:30:20,720 We have the global picture of what the film is going to be, actually. 540 00:30:20,800 --> 00:30:21,880 I had no idea... 541 00:30:21,960 --> 00:30:24,520 how to-- You have a clue when reading the scripts, 542 00:30:24,600 --> 00:30:28,400 but you forget how many stages. And somebody has to do this actual work, 543 00:30:28,520 --> 00:30:30,720 has to paint from the beginning. Lots of them. 544 00:30:30,800 --> 00:30:33,360 And they're not just all HD scans or photographs. 545 00:30:33,440 --> 00:30:35,440 A lot of them have to be painted, 546 00:30:35,520 --> 00:30:37,920 and sketched from the very start. 547 00:30:39,160 --> 00:30:41,600 I am a scene painter, or rather a scenic artist, 548 00:30:41,680 --> 00:30:44,120 and I mainly work on paintings 549 00:30:44,200 --> 00:30:47,120 and everything that is decoration and painting in cinematography. 550 00:30:47,200 --> 00:30:50,680 Especially in films set in the old days, in classical eras. 551 00:30:50,760 --> 00:30:52,840 Because I studied ancient painting 552 00:30:52,920 --> 00:30:56,720 and so, knowing the techniques, knowing the styles, 553 00:30:56,800 --> 00:31:00,120 I then apply what I studied to cinematography. 554 00:31:00,200 --> 00:31:02,120 It can be drawing, it can be engraving, 555 00:31:02,200 --> 00:31:07,560 it can be an oil painting, or even a fresco. 556 00:31:07,640 --> 00:31:10,960 Always, of course, made with a technique 557 00:31:11,040 --> 00:31:13,520 which is somehow reminiscent of the original technique, 558 00:31:13,760 --> 00:31:15,440 because we're talking about the scenic design. 559 00:31:15,520 --> 00:31:19,640 I apply the methods I've been testing over the years 560 00:31:19,720 --> 00:31:23,000 to create the same visual impact 561 00:31:23,080 --> 00:31:26,560 a real fresco can have, or a real oil painting has. 562 00:31:30,160 --> 00:31:35,080 So, in the creation of the apprenticeship 563 00:31:35,160 --> 00:31:37,720 that he went through at Verrocchio's studio, 564 00:31:38,120 --> 00:31:40,360 all of the young artists 565 00:31:40,440 --> 00:31:43,200 who he selected to be working with them went through a kind of boot camp 566 00:31:43,280 --> 00:31:45,880 of Renaissance painting techniques and sculpting techniques 567 00:31:45,960 --> 00:31:47,760 and charcoal drawing techniques. 568 00:31:47,840 --> 00:31:48,840 So that they all knew, 569 00:31:49,080 --> 00:31:51,640 literally, how to hold a charcoal. 570 00:31:51,760 --> 00:31:54,400 What they were trying to see, what they were trying to achieve, 571 00:31:54,480 --> 00:31:55,960 what they were trying to make. 572 00:31:56,120 --> 00:31:57,960 And had to go through that process 573 00:31:58,040 --> 00:32:02,000 so that the way they thought, the way they behaved was authentic. 574 00:32:05,480 --> 00:32:08,440 Then I also worked on the physiognomy, 575 00:32:08,520 --> 00:32:12,080 so both the modern facial standards, 576 00:32:12,160 --> 00:32:16,640 and the classical standards of a Renaissance painter. 577 00:32:16,720 --> 00:32:18,520 Because profiles have a... 578 00:32:18,600 --> 00:32:21,680 Let's say, classical physiognomy has its own style, 579 00:32:21,760 --> 00:32:25,480 which is a little bit related to the Greek world, the ancient world, 580 00:32:25,560 --> 00:32:28,800 and so to everything that can be the golden ratio face. 581 00:32:28,880 --> 00:32:31,280 So, thanks to these research studies, 582 00:32:31,360 --> 00:32:34,120 I try and work on actors' faces as well, 583 00:32:34,200 --> 00:32:36,320 and it's rather challenging. 584 00:32:36,400 --> 00:32:37,400 Then, our director 585 00:32:37,480 --> 00:32:41,120 has a very thorough knowledge of Leonardo as an artist 586 00:32:41,200 --> 00:32:45,720 and we're trying to make everything as accurate as possible. 587 00:32:45,880 --> 00:32:48,600 You need to kind of take yourself back to that time 588 00:32:49,360 --> 00:32:53,080 and realize what the light was like. 589 00:32:53,800 --> 00:32:57,320 The sun would have looked exactly the same as what it looks like now. 590 00:32:57,600 --> 00:33:02,280 The main differences would have been the fabrics, the costume. 591 00:33:03,960 --> 00:33:05,680 You know the fabric of the building. 592 00:33:06,400 --> 00:33:09,320 Our cinematographer, Steve Lawes, is someone I've worked with 593 00:33:09,400 --> 00:33:11,680 on four or five different shows now. 594 00:33:11,800 --> 00:33:14,960 And he is the perfect director 595 00:33:15,040 --> 00:33:19,320 of photography for a show like this because he paints with light. 596 00:33:19,840 --> 00:33:23,640 I don't know how else to put it. And Steve Lawes sees the world 597 00:33:24,240 --> 00:33:26,640 in the way I want to direct it. 598 00:33:27,160 --> 00:33:31,360 One of the things that I was very keen to do on Leonardo was to... 599 00:33:32,200 --> 00:33:35,080 restrict myself in a way... 600 00:33:35,800 --> 00:33:40,680 to the way the light would have been in the 15th, 16th century. 601 00:33:41,800 --> 00:33:43,360 By that, I mean 602 00:33:43,440 --> 00:33:46,320 daylight, moonlight, candlelight. 603 00:33:47,080 --> 00:33:49,880 On a show like Leonardo, 604 00:33:49,960 --> 00:33:52,040 or in that period, there is only 605 00:33:52,160 --> 00:33:53,640 these types of light. 606 00:33:54,400 --> 00:33:57,480 And very much like Verrocchio 607 00:33:57,560 --> 00:34:01,680 talks about the quality of the light 608 00:34:02,160 --> 00:34:05,000 and the shade of the light and the color of the light. 609 00:34:05,080 --> 00:34:07,400 It's a very similar process 610 00:34:07,520 --> 00:34:11,160 for coming up with a plan for Leonardo. 611 00:34:11,400 --> 00:34:16,880 In a beautiful scene, Verrocchio explains the types of light. 612 00:34:16,960 --> 00:34:19,360 He says: "There are three kinds of light in the world." 613 00:34:19,440 --> 00:34:22,200 The first, is direct light... 614 00:34:22,520 --> 00:34:25,960 from a window or a candle flame. 615 00:34:27,120 --> 00:34:28,600 The second... 616 00:34:34,400 --> 00:34:36,440 is diffused light. 617 00:34:40,800 --> 00:34:42,480 What's the third kind of light? 618 00:34:42,560 --> 00:34:47,200 Verrocchio replies: "I have always tried to find the third light, 619 00:34:47,280 --> 00:34:50,560 "but I couldn't find it because it is God's light." 620 00:34:54,120 --> 00:34:56,760 One of the other things that Dan and I talked about 621 00:34:56,840 --> 00:34:58,640 was the movement of the camera. 622 00:34:59,680 --> 00:35:04,280 We kind of feel that if you put yourself back 623 00:35:04,360 --> 00:35:07,320 in the 1500s, there weren't-- 624 00:35:07,400 --> 00:35:08,600 You didn't have a drone. 625 00:35:09,320 --> 00:35:12,200 You didn't have a tall building to look down from. 626 00:35:13,200 --> 00:35:17,520 So, we decided that we wanted to keep the perspective at ground level 627 00:35:17,720 --> 00:35:20,480 and shoot in that sense. 628 00:35:20,800 --> 00:35:23,760 And in the clothing and in the design, 629 00:35:23,840 --> 00:35:26,600 and in the colors and the textures and the materials, 630 00:35:26,920 --> 00:35:30,480 we want it to be as realistic as we can possibly make it. 631 00:35:30,920 --> 00:35:35,400 I'd give credit to the design department because they did an amazing job, 632 00:35:35,880 --> 00:35:38,800 and the costume department and the hair and makeup, 633 00:35:38,960 --> 00:35:40,400 all those other departments. 634 00:35:40,960 --> 00:35:44,320 I can like what I get to work with. 635 00:35:44,840 --> 00:35:46,720 And it is difficult, 636 00:35:46,800 --> 00:35:51,520 because every time I try to adapt the style, a visual part... 637 00:35:51,800 --> 00:35:52,800 Let me put it this way: 638 00:35:52,880 --> 00:35:56,480 a visual perspective that clearly differentiates, 639 00:35:56,560 --> 00:35:57,800 despite being the same era, 640 00:35:57,880 --> 00:36:00,160 this series from the ones I did in the past. 641 00:36:00,240 --> 00:36:02,160 Also because it is another story. 642 00:36:02,240 --> 00:36:03,520 Then because, actually, 643 00:36:03,600 --> 00:36:07,280 the historical period when Leonardo lived, 644 00:36:07,360 --> 00:36:10,520 that is, the beginning of the 16th century, the end of the 15th century, 645 00:36:10,600 --> 00:36:12,360 is a very particular period. 646 00:36:12,440 --> 00:36:15,320 It is a transitional period. 647 00:36:15,400 --> 00:36:17,280 Like a void, a suspended void, 648 00:36:17,360 --> 00:36:20,240 compared to the previous years. 649 00:36:20,320 --> 00:36:23,960 And Leonardo enters this very "dark" area 650 00:36:24,040 --> 00:36:28,200 presenting himself as one of the artists, the scholars, 651 00:36:28,280 --> 00:36:30,680 the best eclectic talents ever. 652 00:36:30,760 --> 00:36:35,160 And it's amazing how Leonardo's movements, geographical movements 653 00:36:35,240 --> 00:36:37,680 from one city to another, from one client to another, 654 00:36:37,760 --> 00:36:39,600 from the Medici court, to Ludovico il Moro's, 655 00:36:39,680 --> 00:36:43,240 and then he went to France, somehow they changed his nature. 656 00:36:43,760 --> 00:36:47,960 I mean, at the beginning he is one kind of man, then he changes. 657 00:36:48,040 --> 00:36:51,480 And this allows us to show these changes, 658 00:36:51,560 --> 00:36:54,680 to make the Florentine period look in a certain way, 659 00:36:54,760 --> 00:36:57,200 and then, say, Milan in another way. 660 00:36:57,280 --> 00:37:02,160 These two cities already differentiate with every passing year, 661 00:37:02,240 --> 00:37:03,800 also in terms of style, 662 00:37:03,880 --> 00:37:07,320 who Leonardo is and his way of being. 663 00:37:08,160 --> 00:37:13,120 Because costumes tell us 50% of characters, even more. 664 00:37:13,200 --> 00:37:15,240 The most challenging thing for actors 665 00:37:15,320 --> 00:37:17,960 is to wear a tie and a jacket when they are acting. 666 00:37:18,040 --> 00:37:20,240 Hitchcock said that. It's the hardest thing. 667 00:37:20,320 --> 00:37:22,200 But when they give you a costume... it's beautiful. 668 00:37:22,280 --> 00:37:25,480 A costume already carries you into another movement. 669 00:37:25,560 --> 00:37:28,200 It carries you into an era, which costume defines, doesn't it? 670 00:37:34,080 --> 00:37:39,920 Here we have all the paintings Leonardo is supposed to do. 671 00:37:40,000 --> 00:37:43,880 I have to arrange some actresses' hair like in the paintings. 672 00:37:44,600 --> 00:37:47,800 This era, i.e. the 15th century, I'm just going to... 673 00:37:48,600 --> 00:37:50,760 Working comes naturally to me... 674 00:37:51,600 --> 00:37:54,160 these historical periods, you see? 675 00:37:54,240 --> 00:37:56,440 It's as if I was born in that era. 676 00:37:56,520 --> 00:38:00,240 I don't know, maybe I have some ancestors, I don't know. 677 00:38:01,120 --> 00:38:03,520 It is easy for me, that's it. I have to be honest. 678 00:38:03,600 --> 00:38:07,680 Because a historical reconstruction gives you the opportunity 679 00:38:07,760 --> 00:38:10,800 to put your own working technique, 680 00:38:10,880 --> 00:38:14,640 as well as your own genius and culture, into practice. 681 00:38:16,000 --> 00:38:17,560 That's what makes a difference. 682 00:38:17,920 --> 00:38:21,400 Because I think the audience always knows 683 00:38:21,480 --> 00:38:26,440 when they've been given a version of reality, 684 00:38:26,520 --> 00:38:29,800 rather than being invited into a reality. 685 00:38:29,880 --> 00:38:30,880 It's very different. 686 00:38:31,000 --> 00:38:32,880 You think, "This is pretty--" 687 00:38:32,960 --> 00:38:35,000 You're not going to get much closer to it. 688 00:38:35,080 --> 00:38:39,280 We're in roughly the same costume, and this is, per scale, 689 00:38:39,360 --> 00:38:42,040 what it looked like. The room is as well. 690 00:38:42,160 --> 00:38:44,200 It's incredible to have it, not just on film, 691 00:38:44,280 --> 00:38:45,960 but to be in it and to look around 692 00:38:46,040 --> 00:38:48,760 beyond the platform painting. 693 00:38:48,840 --> 00:38:50,000 Having that moment. 694 00:38:50,360 --> 00:38:52,680 I think costume drama often suffers from that. 695 00:38:52,760 --> 00:38:54,000 It can be quite tableau. 696 00:38:54,080 --> 00:38:56,560 Quite presented, rather than inhabited. 697 00:38:57,120 --> 00:38:59,600 And I want this world to feel inhabited. 698 00:38:59,680 --> 00:39:03,160 So, every set feels lived in, every costume feels worn. 699 00:39:03,280 --> 00:39:05,000 There's dirt under the fingernails. 700 00:39:05,080 --> 00:39:08,120 The hair is a little bit greasy, there's sweat under the armpits. 701 00:39:08,200 --> 00:39:09,400 It's a real world. 702 00:39:13,800 --> 00:39:16,960 Leonardo belongs to the world, 703 00:39:17,080 --> 00:39:22,840 so we looked for professionals of great depth... 704 00:39:25,120 --> 00:39:26,720 ...international depth, 705 00:39:26,800 --> 00:39:33,120 but also of great intellectual capacity and sensitivity. 706 00:39:34,400 --> 00:39:39,400 Whoever worked on this film set had to have a strong... 707 00:39:39,480 --> 00:39:40,480 how can I say this... 708 00:39:40,560 --> 00:39:44,120 a strong artistic bent, and an outstanding professionalism 709 00:39:44,200 --> 00:39:50,080 to make such an international dream come true. 710 00:39:51,840 --> 00:39:54,800 The audience should watch Leonardo, 711 00:39:54,880 --> 00:39:56,200 because I am in the series. 712 00:39:56,960 --> 00:39:58,160 Okay, perfect. 713 00:40:00,240 --> 00:40:04,440 Because it's a series about the greatest artist of all time, 714 00:40:04,880 --> 00:40:06,560 Leonardo Da Vinci. 715 00:40:08,240 --> 00:40:11,040 People should watch Leonardo because it's fascinating. 716 00:40:11,160 --> 00:40:13,200 It's an insight into one of the most 717 00:40:13,280 --> 00:40:16,360 extraordinary human brains in the history of the world. 718 00:40:16,680 --> 00:40:19,880 We get to see him as a person. And when we do that, 719 00:40:20,000 --> 00:40:22,400 we're even more amazed at this man, 720 00:40:22,480 --> 00:40:25,320 this genius, who managed to accomplish what he did. 721 00:40:25,400 --> 00:40:28,600 It makes him more real and then even more incredible. 722 00:40:28,680 --> 00:40:31,880 It's not a costume drama. It's not a classic costume drama. 723 00:40:31,960 --> 00:40:34,640 It's about love and relationship 724 00:40:34,720 --> 00:40:37,960 and pushing yourself to the limit 725 00:40:38,040 --> 00:40:39,920 and learning how to love again. 726 00:40:40,000 --> 00:40:43,440 It's a very modern series 727 00:40:43,520 --> 00:40:47,480 and it's a universal story, so everyone should watch it. 728 00:40:48,160 --> 00:40:51,120 I hope loads of people tune in to watch this show. 729 00:40:51,200 --> 00:40:53,480 I feel like it's very relevant. 730 00:40:53,600 --> 00:40:57,320 We get to understand Leonardo Da Vinci on a level that I don't think any of us 731 00:40:57,400 --> 00:40:59,320 will previously have had beyond just 732 00:40:59,400 --> 00:41:02,120 the major pieces of artwork that we know him for. 733 00:41:02,200 --> 00:41:04,840 But who is that enigmatic man behind them? 734 00:41:04,960 --> 00:41:07,880 How it was all done and the detail that we show it. 735 00:41:07,960 --> 00:41:12,080 We went to great lengths to make sure that everything is historically accurate. 736 00:41:12,600 --> 00:41:15,600 I think we've done a great job doing that. So for that alone, 737 00:41:15,680 --> 00:41:16,960 it's worth seeing it. 738 00:41:17,040 --> 00:41:20,440 It's beautifully presented, and you will... 739 00:41:20,840 --> 00:41:22,760 If you have any interest at all in 740 00:41:22,840 --> 00:41:27,160 art or creation, this series will speak to you. 60506

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